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State and Main 2000 |
Review by Jonathan Cornwell |
Directed by David Mamet
R, 105 min. (language, brief sexual images) |
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Starring: Alec Baldwin, Charles Durning, Philip Seymour Hoffman, William H. Macy, Patti LuPone, Sarah Jessica Parker, David Paymer, Rebecca Pidgeon, Julia Stiles
Producer: Sarah Green
Screenplay: David Mamet
Cinematography: Oliver Stapleton
Distributor: Fine Line Features
Released: 12.22.00 (Limited), 1.12.01 (Wide) |
Rating:
 (out of ) |
Director David Mamet, who's best known for his meticulously crafted films such as The Spanish Prisoner or last year's pleasant surprise
The Winslow Boy, tries his hand at comedy with impressive results. It's a chance to take a relatively simple story and transform it
into an entertaining, highly watchable film that is filled with quiet, memorable scenes that show a different side of his masterful
directing skills. Not that many doubt Mamet's range, but with every subsequent picture, he silences the few critics that still
look for flaws in his handiwork.
Far from a suspenseful thriller, State and Main is the story of a movie production crew that runs into one snag after another,
coupled with apparent budget problems and a movie star that can't keep out of trouble. We follow their lives and their solutions
to each setback that's handed them. Walt Price (William H. Macy), the director, and Marty Rossen (David Paymer), the producer,
move their team to the small town of Waterford, Vermont to shoot their picture. Of course, the town has mixed emotions about
a big Hollywood production coming to take over their town, and their interactions with each other are at the center of the film.
Bob Barrenger (Alec Baldwin) and Claire Wellesley (Sarah Jessica Parker) are the film's stars, with Joseph Turner White
(Philip Seymour Hoffman) the film's screenwriter that has writer's block.
Not only is the film having scene location problems, but
also personnel problems - Bob, who has an appetite for younger girls, pursues Carla (Julia Styles), who is all too happy to oblige him;
Claire is having second thoughts about a topless scene, and it's up to Walt to convince her to do it; and Joseph needs the help
of a local bookseller, Ann Black (Rebecca Pidgeon), to provide his inspiration.
It's difficult to pinpoint the film's central character, but I'd vote for Joseph, who's sensitivity and low self-esteem are a perfect
fit for the stir-crazy Ann, who subconsciously wants a way out of her engagement to a local town lawyer. Their blossoming
relationship builds around the ever-increasing pressure to finish the film on time, which Walt is having a difficult time doing
because of the aforementioned stumbling blocks and dwindling finances. Joseph craves the slow-paced and thought-provoking
life that Ann represents, while Ann is eager to give him words of encouragement and wisdom for his not-so-complete screenplay.
Mamet's forte is dialogue, and he doesn't disappoint here. He is almost giddy with the chance to satirize and poke fun at just
about anyone involved in the movie industry, and that's probably why he chose to direct this film - it seems no one goes unscathed
during the film's running length. There are the usual verbal gems to be had between the characters, and though he's usually more
particular about showing just the right amount of confrontation to setup a future scene, he's content to deal with each scene one
by one here.
State and Main could be accused of aimlessness, but who's life isn't at times? Mamet is interested in showing routine lives,
surrounded by a larger picture (in this case a motion picture production) that forces them to focus on the problems at hand.
This may be the antithesis of a normal Mamet film, but I think that's the point. Rather than stay comfortable in his shoes,
Mamet is willing to expand, to test the boundaries of his filmmaking ability. What more can you ask of a brilliant director? As far
as I'm concerned, not much.
© 2000 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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